Once a trail-blazer in period performance, Philippe Herreweghe is now the level-headed veteran.

The six cantatas that make up J.S. Bach’s Christmas Oratorio are magnificent vocal and instrumental showcases as well as compelling stories. All are brought vividly to uplifting life by Belgian period-performance conductor Philippe Herreweghe and his remarkable Collegium Vocale Ghent.

John Terauds, the founder of Musical Toronto, is currently a Divinity student at University of Toronto and a church music director. He joined the Toronto Star in 1988, was the classical music critic from 2005 to 2012, and continues as a freelance critic for the paper. He is the co-author of Roy Thomson Hall: A Portrait, a book written with Toronto Star Colleague, William Littler.

This DVD, recorded at a public concert with period-instrument orchestra at the Palais des Beaux-Arts in Brussels a year ago, presents in one 2-1/2-hour sitting all six cantatas, which were meant to be performed in church on different days between Christmas and Epiphany Sunday (January 6).

The performances are flawless, with spacious yet clear audio, impressive playing by the orchestra and great singing by the soloists and choir. There is nothing fancy about the visuals, which cut between the ensemble and various individuals on stage.

During the last decade, there’s been a tendency to add a bit more dramatic expression to Bach’s texts, giving the singers license to emphasize certain words or syllables both dynamically and in speed. But Herreweghe, once cutting edge in the historically informed performance field, is now the veteran standard bearer of a more restrained approach.

There’s nothing wrong with this, as the conductor keeps things moving along in a smooth arc. The music dances nicely, but also a bit briskly at times. We’re here for business, not pleasure, these musicians are telling us.

Consider this, then, a way to honour your inner Lutheran: It’s nice, but it would be unseemly to get too carried away with this spiritual message.

There are no extras on the DVD. You’ll find the EuroArts catalogue page here. And this is the trailer video:

John Terauds, the founder of Musical Toronto, is currently a Divinity student at University of Toronto and a church music director. He joined the Toronto Star in 1988, was the classical music critic from 2005 to 2012, and continues as a freelance critic for the paper. He is the co-author of Roy Thomson Hall: A Portrait, a book written with Toronto Star Colleague, William Littler.

Violinist Elisa Citterio’s first concert as music director of the Tafelmusik Orchestra at Koerner Hall on Tuesday night indicated that Toronto’s fans of music performed on period instruments would go home pleased that they are getting more of the same.

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Ludwig Van

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Shen Yun | Snow Capped Celebration

John Terauds, the founder of Musical Toronto, is currently a Divinity student at University of Toronto and a church music director. He joined the Toronto Star in 1988, was the classical music critic from 2005 to 2012, and continues as a freelance critic for the paper. He is the co-author of Roy Thomson Hall: A Portrait, a book written with Toronto Star Colleague, William Littler.

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Datebook

Ludwig Van

Listen Up

Shen Yun | Snow Capped Celebration

John Terauds, the founder of Musical Toronto, is currently a Divinity student at University of Toronto and a church music director. He joined the Toronto Star in 1988, was the classical music critic from 2005 to 2012, and continues as a freelance critic for the paper. He is the co-author of Roy Thomson Hall: A Portrait, a book written with Toronto Star Colleague, William Littler.